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Cylchlythyr/Newsletter 34 Date/Dyddiad: Hydref/October 2009
from the editor

Dear friends,

I switched on my computer this morning, and, of course – don't we all – went to look for any mail, and, good resolutions to the wind, opened a message from Musbook, a comment on my latest blog. Social interaction seems to come naturally when anything resembling composition, admin, or writing positive and inspiring prose, are completely out of reach, mainly late at night, however -

I had blogged about collecting little tunes written in odd moments, and using them as a basis for a set of small piano pieces for a child (about Grade 4), a task demanding discipline, humility and clarity of mind, and tending to show me how much I don't know about composing music. I thought back to Tchaikovsky's set of twelve pieces for piano, one for each month of the year, Les Mois de l'Année, commonly called The Seasons. The story about his asking his valet to remind him to write each one on one particular day may be apocryphal, but it reflects the economy of form and discipline of thought in these pieces, and what one might call melodic brightness. The more I hear and play them, the more I see in them and marvel at them, surely one can learn something from them about how to compose music?
A visit to Google took me straight to a video'd performance of November's piece – The Troika. I can see my involvement with these pieces is far from over!

Enid
oddiwrth y golygydd

Annwyl Gyfeillion,

Wedi troi fy nhyfrifiadur ymlaen y bore 'ma, rhaid cyfaddau i mi fynd (er waethaf unrhyw fwriadau da!) yn uniongyrchol i weld oedd e-bost i mi, a dyma agor neges gan Musbook, sef sylw ar fy mlog diweddaraf (diddorol yw treiglo blog . .) Mae ”cymdeithasu” yn ystyr y fath wefan yn aml yn llenwi bwlch ar adeg pan fo unrhyw gyfansoddi, neu drefnu, neu gynhyrchu rhyddiaith groyw, berswadol, ymhell o'r cyrraedd, gan amlaf yn hwyr y nos. Fodd bynnag am hynny -

'Roeddwn wedi blogio ynglyn â chasglu alawon byrion, a ysgrifennwyd mewn ambell funud o hamdden, a'u defnyddio fel sylfaen cyfres o ddarnau piano bychain i blentyn (tua Gradd 4), tasg yn gofyn disgyblaeth, gostyngeiddrwydd, a meddwl clir – a sydd yn dangos i mi mewn ffordd eithaf anghyffyrddus cyn lleied 'rwy'n wybod am gyfansoddi cerddoriaeth.

Cofiais am ddeuddeng darn Tchaikovsky i'r piano, un i bob mis, Les Mois de l'Année, neu, yn fwy cyfarwydd, The Seasons. Amheus efallai yw'r stori bod ei was wedi cael gorchymyn i'w atgoffa, ar rai dyddiau arbennig, i gyfansoddi un o'r darnau, er hynny mae'r hanes yn cyfeirio at eu harddull ddestlus, dwt, a'r ddisgyblaeth feddyliol tu cefn iddynt, heb son am eu halawon disglair. Po fwyaf y byddaf yn eu clywed a'u chwarae, po fwyaf a glywaf ynddynt, ac a synaf atynt. Mae'n rhaid bod mwy nag un wers gyfansoddi yn y darnau hyn? Trwy ymweliad a Google, cefais fy ngyfeirio at berfformiad ar Youtube o ddarn mis Tachwedd, “Y Troika”. 'Rwy'n gweld y byddaf yn ymwneud â'r darnau yma am amser hir i ddod!
Enid
from the committee

The Committee met on September 16th last, and many projects and developments were discussed. Our recording project is continuing: the Bridge Duo (Matthew Jones, violin and viola, and Michael Hampton, piano) are gradually putting together recordings of music by our members for a CD, to appear hopefully in the New Year - some pieces are already “in the can”. The CD will contain a new piece by Enid Luff for solo viola, written for Matthew, and the Duo are keen to receive new scores from our membership from them to look at. (Please contact the Secretary in this connection (audrey.morgan59@yahoo.co.uk)

We were very pleased to note the BBC NOW call for scores for their Welsh composer workshops (to be held on 28th and 29th January, 2010), after the very successful first ones last January, but it was felt that the deadline for submissions this year (October 19th) provides rather short notice. The first workshop days last January were excellent, particularly as the orchestra provided a (returnable) bound together print-out of the scores for every one in the audience.

Needless to say, we are keeping our eyes open continually for opportunities to put on concerts and workshops of our members' music. As a follow-on from our members' workshop day last July, which we held, through the kindness of Rosemary Thorpe, at “Gelli”, her home near Lampeter in Carmarthenshire (see the July Newsletter), we are putting on a concert, given by Sylvia Strand (soprano) and Andrew Wilson-Dickson (piano), with a programme containing among other items the new songs from the day at Gelli. This will be held at the Canton Uniting Church, Cowbridge Road East, Cardiff, at 3.0 pm on Saturday 28th November. There will be a call for scores shortly.
We are also very glad to say that the performances during the day at Gelli were recorded, and will be made available to the composers concerned.

Our members may remember our involvement with the Latvian Radio choir during the vale of Glamorgan Festival in 2006. This year, the Festival is inviting the very prestigious Estonian Choir. We would be very glad to see if we could be involved again, however any steps in this direction must be postponed until the requisite funding for the visit has been confirmed.

Our new website is now nearing completion, and will come on stream very shortly. All our members will be notified when the new site is up and running.
oddiwrth y gweithgor

Yng nghyfarfod diwethaf y Gweithgor, ar Fedi 16, cafwyd trafodaeth ar nifer o brosiectau a datblygiadau. Mae ein prosiect recordio mewn llaw; mae'r Bridge Duo (Matthew Jones, ffidil a fiola, a Michael Hampton, piano) yn raddol ychwanegu at recordiadau o ddarnau gan ein haelodau ar gyfer CD 'rydym yn gobeithio y bydd yn ymddangos yn y flwyddyn newydd. Mae rhai darnau wedi eu recordio yn barod. Bydd y ddisg yn cynnwys darn newydd i fiola ddigyfeiliant, a gyfansoddwyd aar gyfer Matthew gan Enid Luff, ac mae'r Duo yn awyddus i dderbyn sgoirau newydd gan yr aelodaeth i'w cysidro. (Cysylltwch a'r Ysgrifennyddes, os gwelwch yn dda, os oes diddordeb gennych: audrey.morgan59@yahoo.co.uk)

Nodwyd gyda phleser mawr y galwad am sgoriau ddaeth yn ddiweddar gan Gerddorfa Gymrieg Genedlaethol y BBC, ar gyfer eu gweithdai i gyfansoddwyr, yn dilyn y digwyddiad tebyg penigamp y flwyddyn ddiwethaf. Teimlwyd fodd bynnag bod y dyddiad cau ar gyfer gyrri sgoriau, sef Hydref 19, ar fyr rybudd braidd. 'Roedd gweithdai'r ddau ddiwrnod y flwyddyn ddiwethaf yn ardderchog, yn enwedig gan i'r Gerddorfa baratoi copïau, i bawb yn y gynulleidfa, o'r sgoriau yn y rhaglen, wedi eu rhwymo gyda'i gilydd, ac i'w rhoi yn ôl wedi'r achlysur!

'Does dim rhaid sôn ein bod yn gwylio allan yn barhaus am gyfleoedd I gynnal cyngherddau a gweithdai o waith ein haelodau. Yn dilyn ein gweithdy mis Gorffennaf diwethaf, gynhaliwyd trwy garedigrwydd Rosemary Thorpe yn ei thy, “Gelli”, ger Llanbedr yn Sir Gaerfyrddin (gweler Cylchlythyr mis Gorffennaf), byddwn yn cynnal cyngerdd gyda Sylvia Strand (soprano) ac Andrew Wilson-Dickson (piano), y rhaglen yn cynnwys, ymysg caneuon eraill, y rhai newydd o'r diwrnod hwnnw yn Gelli. Cynhelir y cyngerdd yn y Canton Uniting Church, Cowbridge Road East, Caerdydd, am 3.0 yp dydd Sadwrn Tachwedd 28.
Da hefyd yw gallu dweud y gwnaethpwyd recordiad o'r caneuon yn y gweithdy, a bydd copi ar gael i'w cyfansoddwyr.

Fe gofia'n haelodau, efallai, i ni gydweithio gyda Chôr Radio Latvia yn ystod Gwyl Gerdd Bro Morgannwg yn 2006. Y flwyddyn hon bydd yr Wyl yn gwahodd côr byd-enwog o Estonia. Byddai'n bleser tu hwnt pe caem gydweithio gyda'r côr hwn yn yr un modd, ond mae'n rhaid disgwyl nes ceir cadarnhad ynglyn â'r ariannu cyn i ni allu mynd ymhellach.

Mae'r wefan newydd yn agos at fod yn barod, bydd ar lein cyn hir. Bydd cyhoeddiad yr adeg honno.
Enid Luff
article

Fashion Music
The intellectual standard and aesthetic quality of ‘new music‘ continues its decline as long as popular culture remains the only show in town.

In our rat-race society where everything, including the arts, is locked in a permafrost of “fast-forward”, the cracks in our cultural infra-structure are all too apparent. New classically based music doesn’t escape this blight: in the headlong rush for instant success, quality is sacrificed for the fame-game. It is not surprising that composers alive today all sound similar, due, in my view, to a lack of creative patience: the talent, wisdom and experience to permit a musical thought or idea it’s own free unlimited rein, unconstrained by peripheral issues. In truth, there is too much new music being produced.

The musical imagination needs to find its true level and maturity of expression. This quintessential factor is apparent by its absence and exacerbated by the cult of the one-off premier. Added to this is the fashion for the eponymous “young composer“ shown by misguided organizers of new music competitions. All too frequently young and not so young composers show lack of insight and understanding of the musical mind on the one hand and the comprehensive dynamic of creative imagination on the other. A new music composition competition must have meaningful and recognisable ground rules to provide each participant with an equal starting point.

A new approach would demonstrate the entrant’s knowledge, listening history and compositional experience, interests and education as well as creativity, when the primary focus is on what a composer can do with this or that material, ie the quality of the composer’s creativity. Under current practice, new music competition organizers and sponsors sacrifice the quality of the musical thought, when we should seek to re-establish it and set a higher standard.

Creative patience, as an aspect of creativity, is largely overlooked either through egoism or ignorance or both by creators. To better understand this we need to realize that for an idea as sound to be music, there must be a potentiality factor, organizational method and organic principle.

An idea as sound is akin to a hidden world where anything and everything is possible. But first the idea must be treated with care, reflection, memory, surprise; it must be free to range and roam at its own pace in its own indigenous way. It cannot be forced and hurried but encouraged to develop out of its unique origin; as a plant needs light and moisture, so the composition of a piece of new music also needs to be nourished by time and space. Creative patience provides the best environment for the interior engine of musical thought and feeling to work towards new discoveries of relationships between the over-riding factors which give life to sound as music. This is an organic principle.

A musical idea has its destiny innate within it, awaiting the skill and talent and above all the by-product of creative patience, creative judgement, whereby the components of an idea reach their optimum realization in music composition and performance. The composer, like a gardener, must prepare the ground, slowly, diligently, taking infinite care and patience feeding it with nourishment of time and space if the idea is to take root and flourish into musical form.

In summary, there is a serious need for a reckoning, a cultural reappraisal and rebalancing. The long view demands that we apply the brake, allowing the issues raised to be given open, sustained, informed and committed consideration by independent people who care about the health and welfare of art music culture in all its forms. If mediocrity is the norm of the eleven-econd attention span, then without alternatives, how can we expect to hear what might have been?
David Lloyd-Howells
erthygl

Cerddoriaeth ffasiwn?
Mae safon feddyliol a chelfyddydol “cerddoriaeth newydd” yn dal i ddirywio cyn belled ag y bo dim heblaw diwylliant boblogaidd yn llygad y cyhoedd.

Hawdd yw gweld y gwendidau yn y gymdeithas or-gystadleuol sydd ohonni heddiw, ble mae popeth, gan gynnwys y celfyddydau, dan orfodaeth i ruthro yn ei flaen. Mae hyn llawn cyn wired am gerddoriaeth glasurol gyfoes – mae'n colli ansawdd drwy geisio enwogrwydd.

Dim syn bod cerddoriaeth cyfansoddwyr heddiw i gyd yn swnio'n debyg; credaf mai diffyg amynedd creadigol sydd ar fai, sef yw'r ddawn, y doethineb a'r profiad i ganiatáu i bob syniad cerddorol feddiannu ar ei ryddid a'i gymeriad ei hunan. Mewn gwirionedd, mae gormod o gerddoriaeth newydd yn cael ei chynhyrchu heddiw.

Rhaid caniatáu i'r dychymyg creadigol geisio ei lefel a'i aeddfedrwydd ei hunan. 'Dyw hyn ddim yn bod yn gyfoes, a gwaethygir y sefyllfa gan yr arferiad o gynnal “premieres unwaith-am-byth”, a chan gystadleuthau i “gyfansoddwyr ifainc”. Mae llawer or gyfansoddwyr ifainc (ac eraill hefyd) nad ydynt yn deall yr agwedd hon ar bethau. Mae'n rhaid i gystadleuaeth gyfansoddi fod â rheolau clir a dealladwy, fel bod pob cystadleuydd yn cychwyn o'r un fan.

Gwell, yn y cyswllt hwn, fyddai cynllun fyddai'n arbrofi gwybodaeth a phrofiad yr ymgeisydd, ei allu i wrando, ei ddidordebau a'i addysg, yn ogystal a'i greadigrwydd. Yn bresennol, tuedda cystadleuthau cyfansoddi anwybyddu ansawdd y meddwl cerddorol, yn lle ei feithrin.

Anwybyddir hefyd amynedd creadigol. Er mwyn i syniad cerddorol aeddfedu'n gerddoriaeth, rhaid yw wrth addewid, trefn, a dyfnder.

Byd ynddo'i hunan yw syniad cerddorol, lle mae unrhyw beth yn bosibl. Yn gyntaf, rhaid ei drin gyda gofal, a myfyrio drosto, gan roi pob rhyddid iddo ddatblygu yn ei ffordd ei hunan. Ni ellir ei orfodi, mae fel planhigyn yn tyfu, mae arno angen amser a lle i ehangu. Fel garddwr, mae'n rhaid i'r cyfansoddwr baratoi'r tir, a'i fwydo dros amser.

I gloi, mae angen dwys am ail-feddwl ac ailgloriannu. Dylem bwyso ar y brêc, er mwyn creu cyfle i fyfyrio ar yr holl broblemau fydd yn codi yn y cyswllt dyrys hwn. Heb hyn, ni fyddwn byth yn clywed y gerddoriaeth a allai fod wedi cael ei chreu.
David Lloyd-Howells
reviews

Helen Adam Day writes about her piece:

‘Totem’: A musical drama for children.

The inspiration for this work was originally my fascination with the idea that we could all have a spirit animal with which we are particularly associated and with whom we can communicate. This idea, which appears in many nature based and shamanic religions, lends itself beautifully to creative work with children, who naturally take on different identities in play.
Other important influences were stories from the Mabinogion, characters from which make brief appearances during the show, and the legend of the shape-shifting magician, Taliesin.

The words are all mine except for the lyrics to the song, ‘Taliesin’, which uses words from the thirteenth century Book of Taliesin, translated by Ifor Williams. I created a simple narrative in which the participants go on an archetypal journey of transformation and the gaining of knowledge. The piece is composed of 5 songs, a dance music section, narrative, and underscoring throughout and lasts about an hour. I chose instruments for their timeless and evocative qualities to fit with the subject matter, such as the deer and sheep bone flutes, gue, and concouka. The fact that they are mostly made from the bodies of animals in various forms added a neat symmetry to these choices. The electric violin is a contemporary touch though. I was especially pleased with The Raven’s Song’ which is almost entirely using whole tone scales, and was understood and sung by children as young as four.
The project involved two small rural schools, Cilycwm, and Cynghordy, and every child in both took part, from age 3 upwards. This obviously presented a few difficulties, but generally the more able children pulled the less confident along.
I worked with the children teaching them the songs and narration, and by providing the schools with a CD of the music, they were able to practice in between sessions so by the two final performances the children were performing everything from memory.
A community artist, Guy Norman, from Pembrokeshire, led mask making workshops in which each child made the mask of their own Totem animal, which they wore during the performance, a dance animator, Guy Barrington, helped me in devising simple and effective movements, and two musicians played some of the large range of instruments we used, which included several drums, double bass, cow horns, bull roarer and crystal bowls, as well as the before mentioned gue, concouka and bone flutes.
I was lucky to have two very experienced friends who lit the performances very atmospherically and also made a DVD of the first performance. I am now looking to perform this show again, so if anyone knows of a school, community group or group of pagans who might be interested do get in touch!
The project was largely funded by an Arts Council of Wales grant and supported by the Small Nations festival at which it had its second performance.
Helen Adam
adolygiadau

Helen Adam Day yn sgrifennu am ei darn:

‘Totem’: Drama Gerddorol i Blant.

Ysbrydolwyd y darn hwn gan fy syniad y gallai pob un ohonnom fod ag ysbryd anifail mae gennym gysylltiad arbennig ag o, ac y gallwn gyfathrebu ag o. Syniad cyffredin iawn yw hwn mewn crefyddau natur a shamanaidd, ac mae'n wych o addas i wieithio gyda phlant, gan eu bod hwythau yn naturiol hoff o gymryd arnynt fod yn rhywbeth arall wrth chwarae.
Daeth dylanwadau eraill oddiwrth y Mabinogion (mae cymeriadau o'r rhain yn ymddangos yn fyr yn ystod y ddrama), a chwedl y dewin Taliesin, a'i allu i newid ei wedd.

Helen Adam Day yn ysgrifennu am ei darn:

Totem: Drama gerddorol i blant.

Fi pïau'r geiriau i gyd heblaw'r gân Taliesin, ar eiriau o Lyfr Taliesin (o'r drydydd ganrif ar ddeg) yng nghyfieithiad Ifor Williams. Creais stori syml am ddau yn mynd ar siwrne ar drywydd trawsnewidiad a gwybodaeth. Yn y darn mae pum cân, darn o gerddoriaeth dawns, adrodd, a chyfiliant i'r cwbl. Mae'n parhau tuag awr.
Dewisais offerynnau fyddai a chymeriad diamserol, atgofus, fyddai'n ymateb i gynnwys y chwedl, er enghraifft, ffliwtiau o esgyrn carw a dafad, gue, a concouka. Mae eu defnydd ar y cyfan o gyrff anifeiliad, a hynny'n cydfynd â thema'r ddrama. Defnyddiais hefyd ffidil drydanol – fel elfen gyfoes.
'Rwy'n arbennig o fodlon gyda The Raven’s Song, sy'n defnyddio ymron ddim ond graddfeydd tonau cyfan . 'Roedd plant mor ifanc a phedair oed yn gallu canu a deall hon.

Cynhaliwyd y gwaith gyda dwy ysgol fechan wledig, sef Ysgol Cilycwm ac Ysgol Cynghordy, a chymerodd pob un plentyn ran yn y gwaith, yr ieuengaf yn dair oed. Cafwyd rhai anhawsterau, wrth gwrs, ond ar y cyfan bu'r rhai mwyaf abl yn tywys y lleill.

Gweithiais gyda'r plant i ddysgu'r caneuon a'r stori. Trwy roddi CDs o'r gerddoriaeth i'r ysgolion, llwyddasant i ymarfer rhwng gwersi, ac erbyn y ddau berfformiad diwethaf, 'roedd pawb yn canu ac adrodd y cwbl ar gof.

Death artist yn y gymuned, Guy Norman, o Sir Benfro, i arwain gweithdai gwneud masgiau, a phob plentyn yn gwneud masg o'u hanifail Totem eu hunain, i'w wisgo yn ystod y perfformiad. Cefais gymorth arbennigwr dawns, Guy Barrington, i ddyfeisio symudiadau syml ac effeithiol, a dau gerddor i chwarae'r holl offerynnau oedd gennym, yn cynnwys sawl drwm, bâs dwbl, cyrn gwartheg, “bull roarer”, a bowliau crisial, ynghyd â'r gue, y concouka, a'r ffliwtiau o esgyrn.

Yn ffodus 'roedd gennyf ddau gyfaill profiedig iawn ddaeth i oleuo'r llwyfan ac ychwanegu naws hudol i'r olygfa, yn ogystal â gwneud DVD o'r perfformaid cyntaf. 'Nawr 'rwy'n ceision cyfle I gyflwyno'r sioe eto, felly os gwyr neb am ysgol neu grwp cymunedol, neu efallai grwp o baganiaid fyddai â diddordeb, cysylltwch â mi, os gwelwch yn dda!

Arianwyd y prosiect drwy grant gan Gyngor Celfyddydau Cymru, a chawsom nawdd y Small Nations Festival ar gyfer ein hail berfformaid.
Helen Adam



Enid Luff writes about

“Letters of a Love Betrayed”

This opera by Eleanor Alberga, the libretto by Donald Sturrock, has a truly memorable and attractive plot, with a happy ending which does not detract from the weight, power and seriousness of the drama. The performance I heard by Music Theatre Wales at the Sherman Theatre in Cardiff on the 20th of October was excellent in many ways. The staging and scenery were understated to just the right degree, and the acting, particularly the male parts, was very good. Rachel Nicholls, as the heroine, has a voice to meet all demands of the part, which was beautifully sung. Her presence on stage was maybe not quite “young” enough at first to portray the young girl trapped in a lonely upbringing in a convent. There was a certain lack of flexibility in her acting throughout which threatened to obscure the natural development of the character in the course of the drama.

The beautiful and intricate score by Eleanor Alberga paid great attention to detail, and the promise of the happy, birdsong-filled character of the beginning was musically upheld throughout. This very attention to detail however meant that the music lacked the equivalent of the “paragraph”, in the text and therefore in the action. Almost every word in the text had its musical interpretation, but the longer lines (both melodic and structural) needed to support the broader lines of the plot as it moved forward, were not there. To compensate for this, stress or emphasis tended to be expressed by taking the line upwards, ending in a long high note. Also as a result, the musical phrases were too long-drawn-out, and the action crept, rather than leapt, forward.

Music of this kind, meticulous and appealing as it is, lacks the broader rhythmic phrasing and formal underpinning given to the opera scores (and songs for that matter) of the classic and romantic era by harmonic progression and a pulse, which would carry the line forward. (The sudden change of pace and sense of lightness and relief with the singing of the servant girl's folksong in traditional style, were tangible.) Until our contemporary classical idiom acquires one or both of these, or a viable alternative, music for long dramatic structures will always be in doubt.




Sylwadaeth gan Enid Luff ar

“Letters of a Love Betrayed”

Mae i'r opera hon gan Eleanor Alberga (y libreto gan Donald Sturrock) blot gwirioneddol swynol a chofiadwy. gyda diweddiad hapus nad yw'n ymharu dim ar ddwysder y ddrama. ac 'roedd y perfformiad a glywais yn Theatr y Sherman yng Nghaerdydd ar Hydref 20, gan Music Theatre Wales, yn ardderchog mewn llawer ffordd.
'Roedd y llwyfannu yn addas a chynil, a'r actio, yn enwedig rhannau'r dynion, yn dda dros ben. Mae Rachel Nicholls, fel yr arwres, â llais addas at holl ofynion y gerddoriaeth, a channodd y rhan yn wych. Teimlwn efallai nad oedd ei pherson ar y llwyfan yn llawn drosglwyddo personoliaeth merch ifanc yn cael ei dwyn i fyny mewn lleiandy. 'Roedd rhyw ddiffyg ystwythder yn ei symudiadau nad oedd yn llawn gyfleu datblygiad naturiol y cymeriad yng nghwrs y ddrama.

Cafwyd sgôr hynod dlws a chywrain gan Eleanor Alberga, o'r agoriad hapus, llawn cân adar, hyd y diwedd. Fodd bynnag, er iddo fod, neu thrwy iddo fod, mor fanwl gywir ac addas, collwyd golwg i raddau ar y brawddegu fyddai'n cyfateb i'r “paragraph” - yn y testun, ac hefyd ar y llwyfan. Cafodd bron pob gair ei fynegiant a'i bwyslais cerddorol, ond teimlais nad oedd llinnellau (yn strwythyrol nac yn gerddorol) yn bod i gynnal elfennau mwy sylfaenol y darn, sef elfennau'r stori. 'Roedd ymron bob gair â cherddoriaeth yn ymateb iddo, ond teimlwn nad oedd dim elfen yn y sgôr yn cynnal y plot wrth iddo symud yn ei flaen. Yn hytrach, 'roedd tuedd i fynegi pwyslais neu ddwysder drwy godi'r traw, nes bod y frawddeg yn diweddu ar nodyn uchel hir. Felly, tueddai'r brawddegau cerddorol, a'r plot hefyd, i lusgo, yn hytrach na llamu ymlaen.

Gwendid cerddoriaeth fel hyn, er mor swynol a manwl y bo, yw nad oes iddi'r rhythm na'r cryfder ffurfiol hwnnw a roddir i gerddoriaeth operatig (a chaneuon, o ran hynny) y cyfnodau clasurol a rhamantaidd, er enghraifft, gan y curiad a dilyniad yr harmoni. ('Roedd y gwahaniaeth i'w deimlo pan gychwynodd y forwyn ganu cân werin mewn dull traddodiadol).

Hyd nes y bydd ein cerddoriaeth glasurol gyfoes heddiw yn meddiannu ar y rhain, neu rywbeth cyfartal, ansicr fydd addasrwydd y gerddoriaeth ar gyfer unrhyw waith hir dramategol.
news

Music in Wales, the old and the new
A Conference has been arranged by the Centre for Advanced Welsh Music Studies, Bangor, in partnership with St Fagans National History Museum, Cardiff, under the title of “Music in Wales, the old and the new”. The sessions will take place at the Small Lecture Theatre, School of Music, Cardiff University, on Thursday evening, 12th November, and at Oakdale, St Fagans all day on Friday and Saturday, 13th and 14th November. If you have not already received a notification, please get in touch with Audrey at audrey.morgan59@yahoo.co.uk for more information .

Elaine Hugh-Jones at the Malvern Fstival
On October 10th 2009 at the Malvern Festival, at 2-30 pm, there was a joint presentation, “Inspiration and Composition”, by Elaine and composer Ian Venables of songs and instrumental music by both composers, accompanied by a lecture and recordings. The afternoon included Venables' Piano Quintet.

Peter Reynolds: Sometimes there is a hoar frost.... (for guitar). The Premiere of this work by Michael McCartney, as part of a concert by Still Life with Guitar at Brecon Cathedral on Monday 26 October, has been cancelled, due to the guitarist breaking his arm. The performance will be rescheduled in the not too distant future.

The following information has been received:
As part of Sound and Music's annual Cutting Edge Tour, the following concert will be given at the University Concert Hall, Corbett Road, Cardiff, at 7.30pm on Tuesday December 1st 2009:
Cutting Edge Tour 2009: Claire Booth/Andrew Matthews-Owen
Cycles and Scenas: The soprano and pianist present contemporary British song by Oliver Knussen, Alun Hoddinott and premieres of works by Philip Cashian, Robert Fokkens and Arlene Sierra.
newyddion

Cerddoriaeth yng Nghymru, yr hen a'r newydd
Bydd Cynhadledd dan nawdd y Centre for Advanced Welsh Music Studies ym Mangor, ar y cyd ag Amgueddfa Genedlaethol Cymru yn Sain Ffagan, dan y teitl uchod, yn yr Ysgol Gerddoriaeth, Prifysgol Caerdydd ar Tachwedd 12 a Sain Ffagan ar Tachwedd 13 a 14. Am fanylion, cysyllter ag
audrey.morgan59@yahoo.co.uk

Elaine Hugh-Jones yng Ngwyl Malvern
Ar Hydref 10, 2009 , yng Ngwyl Malvern, am 2-30yp, rhoddwyd cyflwyniad ar y cyd, “Inspiration and Composition”, gan Elaine a'r cyfansoddwr Ian Venables o ganeuon a cherddoriaeth offerynnol gan y ddau gyfansoddwr, gyda darlith a recordiadau. 'Roedd y prynhawn yn cynnwys Piano Quintet Venables.

Peter Reynolds: Sometimes there is a hoar frost.... (i gitar). Gorfu gohurio premiere y darn hwn gan Michael McCartney (rhan o gyngerdd gan Still Life with Guitar yn Eglwys Gadeiriol Aberhonddu dydd Llun Hydref 26) gan i'r gitarydd dorri ei fraich. Bydd y darn yn gael ei gyflwyno mewn cyngerdd arall cyn bo hir.

Derbynwyd y wybodaeth a ganlyn:
Fel rhan o daith flynyddol Sound and Music, y Cutting Edge Tour, rhoddir y cyngerdd canlynol yn neuadd yn Brifysgol, Corbett Road, Caerdydd, am 7.30yh dydd Mawrth Rhagfyr 1af 2009:
Cutting Edge Tour 2009: Claire Booth/Andrew Matthews-Owen (soprano a phiano).
Cycles and Scenas: Caneuon cyfoes prydeinig gan Oliver Knussen, Alun Hoddinott a premieres darnau gan Philip Cashian, Robert Fokkens ac Arlene Sierra.

composers at work

John Williamson writes:
I am pleased to tell you of the following events:
1. My piece Variations and Theme Concertante was performed at the opening concert of the 63rd. season of Rhyl Music Club on October 7th. by the Welsh Chamber Orchestra under Anthony Hose.
2. My song-The Recruit, a Housman setting, is to be performed by Roderick Williams (baritone) at the ARTRIX CENTRE, Bromsgrove, on Friday 23rd. of October as part of the next HOUSMAN weekend on that date, with  a repeat performance at the University of Hull on the 24th. October.
3. My three recent publications include; Mirrors, a set of 5 pieces for double bass and piano by Recital Music, and 2 items to be issued by Brandon Publications, a short piece for piano or harp (Lament for Sarah) and a song, The Ploughman, another Housman setting, for baritone and piano; these two pieces are recorded on discs by Divine Art Label, a company allied to Brandon Publications.

Dafydd Bullock writes:
Requiem for Jan Palach: following the premiere in Luxembourg in January this year, there will be further performances of this work in Luxembourg, and on November 1st, for the 20th Anniversary of the Czech Revolution, in Prague in the presence of Jiri Palach, Jan's brother, and Vaclav Havel. These concerts are sponsored by the Czech Ministries of Culture and Foreign Affairs.
The Argentine-Welsh Guitar Duo have recorded Taith i Batagonia, a Suite based on Welsh and Patagonian Music.
Antonio Eduardo continues to perform Bossa Nova Galesa (piano) throughout Brazil, Peru and Argentina.
My 9th Symphony has been completed, written in Maria Alm, Austria, Llanberis and Luxembourg.
My Calmont Suite for Slate Xylophone and Piano will be premiered in the Mosel Festival, May 29th, 2010 by Dewi Ellis Jones, who recently performed another piece for the same, unique instrument (Slate Fanfare for Llechiffon and Brass) at a concert in Brynrefail to commemorate the 40th Anniversary of the closure of Dinorwic Quarry.

John Metcalf
2009 highlights include the release in July by Signum Records of new chamber music featuring the String Quartet Llwybrau Cân (Paths of Song) and chamber music works with harp.

John has recently received one of four inaugural Creative Wales Ambassador Awards from the Arts Council of Wales. The awards recognise artists' achievements, their standing in the arts in Wales and their capacity to push the boundaries of their art inherently as form and as a point of contact with contemporary Wales.

Brian Noyes
Bryan's current works in progress include:
Sextet for mixed ensemble, a Piano concerto, and Reveries and false hums, a song cycle for baritone and piano with obbligato instruments.

Leigh Phillips
Leigh has been involved recently with new arrangements of cues from Cast Away, Sunshine, J J Abrahms: Star Trek XI, and Transformers: Revenge of the Fallen. Due to an ever-expanding work-load, the preparations for Star Trek XI, Transformers, and Sunshine were handled by Rebecca Thomas, who has joined Leigh as copyist and co-composer. This change in working dynamic has resulted in the creation of a new service website, Phantom Music.
They are soon to begin work on the scores for the motion picture Still Life and the film-festival short Ward Threefor director Jason Shatterfield.

Lisa Mears writes:
I am currently composing music for Tai Chi / Qi Gong based on different sets of practices using Western instruments, hopefully to be available in early 2010. In August, my Ave Maria for four female voices and piano was broadcast on BBC Radio Devon with performances pending by Amabile Girls Choir of Kendal.

David Lloyd-Howells writes:
Following last years UK premier of TRIPTYCH at the Expo '08 Festival, Brighton , Zeppelin Festival, Barcelona on December 10th 2009 are to perform Lethal Edge  an acousmatic piece for voices, original poetry and electronics. Also performances of Metro Canticles and Cosmic Liturgy are being organised in Belgium and USA. Full details to be finalised.
 The venue for Lethal Edge is the Centre de Cultura Contemporania de Barcelona, Spain.  The date are 10 11 - 12  Dec.  2009 I have no time of the performance.
Just to add that the performance in Spain of Lethal Edge, adds to the number of countries where my sonic art music has been heard since 1991, including Russia, Canada, Australia, France, Brazil, England, Scotland, USA and Spain.

Enid Luff writes:
My Meister Eckhart's Flute (for solo Flute), was given a performance of outstanding beauty at the Regent's Hall, Oxford Street, London, on Friday Novmber 6th by Nancy Ruffer. In the same concert , together with Julia Usher's Aquarelles, Nancy also played Windover, by Hilary Tann. Nancy Ruffer has a particular gift for musical interpretation, she plays the music so that the structure and intrinsic meaning of each piece is conveyed in depth to the listener, as well as the haunting quality of her tone.
This was a half-hour's recital as part of the London New Wind Festival (see their website). This year the occasion was brought together with the AGM of Women in Music.

cyfansoddwyr wrth eu gwaith

Oddiwrth John Williamson:
1. Perfformwyd fy narn Variations and Theme Concertante yng ngyngerdd agoriadol trydydd tymor a thrigain y Rhyl Music Club ar Hydref 7fed, gan Gerddorfa Siambr Cymru dan arweiniad Anthony Hose.
2. Perfformwyd fy nghân-The Recruit, (geiriau Housman), gan Roderick Williams (bariton) yn yr ARTRIX CENTRE, Bromsgrove, dydd Gwener Hydref 23 fel rhan o'r HOUSMAN weekend, ac eto ym Mhrifysgol Hull ar Hydref 24.
3. Cefais gyhoeddi yn ddiweddar fel a ganlyn: Mirrors, 5 darn I fâs dwbl a phiano, cyh. Recital Music, a 2 eitem o wasg Brandon Publications, darn byr i'r piano, darn byr i delyn a phiano (Lament for Sarah), a chân, The Ploughman, y geiriau et gan Housman. i fariton a phiano; recordiwyd y ddau ddarn yma ar ddisgiau gan y Divine Art Label, ccwmni yn perthyn i Brandon Publications.

Oddiwrth Dafydd Bullock:
Requiem for Jan Palach: yn dilyn y premiere mis Ionawr y flwyddyn hon yn Luxembourg, bdd perfformiadau pellach yno o'r darn hwn, ac ar Tachwedd, ar ugweinfed penblwydd y Chwildro Czechaidd, 'roedd perfformiad yn Prague ym mhresenoldeb Jiri Palach, brawd Jan, a Vaclav Havel. Noddwyd y cyngherddau hyn gan Weinidogaeth Celfyddyd a Thramor Czechoslovakia These concerts are sponsored by the Czech Ministries of Culture and Foreign Affairs.
Mae'r deuawd The Argentine-Welsh Guitar Duo wedi recordio Taith i Batagonia, Dilyniant seiliedig ar gerddoriaeth o Gymru ac o Batagonia.

Mae Antonio Eduardo yn dal I berfformio Bossa Nova Galesa (piano) ar hyd a lled Brasil, Peru a'r Ariannin.
Gorffennais fy nawfed Simffoni, gyfansoddwyd yn Maria Alm, Awstria, Llanberis a Luxembourg.
Bydd premiere fy Calmont Suite fi I Lechiffon a Phiano yng ngwyl Mosel, ar Mai 29fed, 2010 gan Dewi Ellis Jones, a roddodd berfformiad yn ddiweddar o ddarn arall i'r offeryn unigryw yma.
(Slate Fanfare i Lechiffon a Phrês) mewn cyngerdd ym Mrynrefail ar achlysur penblwydd 40 cau chwarel Dinorwig.


John Metcalf
Mae prif achlysuron 2009 yn cynnwys highlights include recordiadau newydd ym mis Gorffennaf gan Signum Records o gerddloaeth siambr newydd, yn cynnwys yn arbennig y Pedwarawd Linynnol Llwybrau Cân (Paths of Song) a cherddoriaeth siambr gyda thelyn.


Yn ddiweddar derbyniodd John un o bedair gwobr agoriadol gan Gyngor Celfyddydau Cymru dan y teitl Dyfarniadau Llysgenhadon Cymru Greadigol . Mae'r dyfarniadau hyn yn gwobrwyo campweithiau ym myd y celfyddydau, statws yr artistiaid, a'u gallu i ehangu cyrhaeddiad a chywreinrwydd eu celf arbennig eu hunain , a'i bwysigrwydd I Gymry heddiw.

Brian Noyes
Mae sawl gwaith ar y gweill gan Brian, yn cynnwys:
Chwechawd I Ensemble Gymysg, Consierto I Biano, a Reveries and false hums, cylch o ganeuon I fariton a phiano gydag obbligati offerynnol.
Leigh Phillips
Bu Lee yn ymgymryd yn ddiweddar â threfniadau newydd o cues o Cast Away, Sunshine, JJ Abrahms: Star Trek XI, a Transformers: Revenge of the Fallen. Oherwydd bod y llwyth gwaith yn cynyddu, cyflawnwyd paratoadau ar gyfer Star Trek XI, Transformers, a Sunshine gan Rebecca Thomas, ddaeth yn ddiweddar i weithio gyda Leigh fel copïydd a chyd-gyfansoddwr. Arweiniodd hyn ar greu gwefan newydd, Phantom Music. Cyn hir byddant yn cychwyn gwaith ar sgoriau ar gyfer y ffilm Still Life, cyfarwyddwr Jason Shatterfield.

Oddiwrth Lisa Mears:
'Rwyf wrthi'n cyfansoddi cerddoriaeth yn bresennol ar gyfer Tai Chi / Qi Gong, yn seiliedig ar wahannol idiomau yn defnyddio offerynnau Gorllewinol, i'w gwblhau os yn bosibl erbyn dechreu 2010. Ym mis Awst, darlledwyd fy Ave Maria i bedwar llais merch a phiano ar BBC Radio Devon. Bydd perfformiadau cyn hir heftd gan gôr merched Amabile o Kendal.

Oddiwrth David Lloyd-Howells:
Wedi premiere (DU) Triptych y flwyddyn ddiwethaf yn yr Expo '08 Festival, yn Brighton, fe eir berfformiad yn y Zeppelin Festival, Barcelona ar Rhagfyr 10fed, 2009 o Lethal Edge darn acwsmatig i leisiau, barddoniaeth wreiddiol, ac electronics. Trefnir hefyd berfformiadau yn Belgium acyn yr UD o Metro Canticles a Cosmic Liturgy. Gwybodaeth ymhellach i ddod). (Gweler y rhestrau).
 Hoffwn ychwanegu mai'r diweddaraf o gyfres o berfformiadau o Lethal Edge yw'r un yn Sbaen. CccClywyd fy ngherddoriaeth acwsmatig mewn sawl gwlad ers 1991, gan gynnwys Rwsia, Canada, Awstralia, Frainc, Brasil, Lloegr, yr Alban, yr Unol Daleithiau, a Sbaen.

Oddiwrth Enid Luff
Cafwyd perfformaid penigamp o fy Meister Eckhart's Flute (unawd Ffliwt), yn y Regent's Hall, Oxford Street, Llundain, ddydd Gwener Tachwedd 6, gan Nancy Ruffer. Yn yr un cyngerdd, ynghyd ag Aquarelles Julia Usher, chwaraeodd Nancy Windover, gan Hilary Tann. Mae dawn arbennig gan Nancy Ruffer i ddehongli cerddoriaeth, ac i'w chwarae yn y fath ffordd fel bod strwythyr y darn a'i ystyr sylfaenol yn amlwg i'r gwrandawyr, yn ogystal a phrydferthwch swn y ffliwt. Datganiad hanner awr oedd hwn fel rhan o'r London New Wind Festival (gweler y wefan). Unwyd yr achlysur y flwyddyn hon â chyfarfod blynyddol Women in Music.


listings

November 13 2009 Guto Puw: Hadau (2009 Eisteddfod Commission),
7-30pm Iolo Morganwg Room, St. Fagan's Museum, Cardiff
(as part of the conference “Music in Wales:
The Old and the New”).
December 10 2009 David Lloyd-Howells: Lethal Edge (voices, poetry
and electronics). Centre de Cultura Contemporanea,
Barcelona (as part of the Zeppelin Festival).
 
rhestrau

Tachwedd 13 2009 Guto Puw: Hadau (2009 Comisiwn yr Eisteddfod), Ystafell Iolo Morganwg
7-30yh Amgyeddfa Sain Ffagan, Caerdydd (fel rhan o gynhadledd “Music in Wales:
The Old and the New”).
Rhagfyr 10 2009 David Lloyd-Howells: Lethal Edge (voices, poetry and electronics). Centre de Cultura Contemporanea, Barcelona (fel rhan o'r Zeppelin Festival).
 
important

THE DEADLINE FOR THE NEXT ISSUE is December 21st. Please send any news items and contributions of any kind to Enid Luff (enid.luff@googlemail.com). Late information, for the listings only, will be accepted later at the Editor’s discretion.
dalier sylw

DYDDIAD CAU Y RHIFYN NESAF yw RHAGFYR 21. Cynhwysir gwybodaeth hwyr, ar gyfer y rhestrau yn unig, yn ôl dyfarniad y Golygydd.
please note

Views expressed in any part of this Newsletter are those of the writer only, and do not necessarily represent those of Cyfansoddwyr Cymru/Composers of Wales.
Letters to the Editor may be edited or shortened.

sylwer hefyd

Mae unrhyw farn a fynegir yn unrhyw ran o’r Cylchlythyr hwn yn perthyn i’w hawdur yn unig. Nid yw o angenrheidrwydd yn cynrychioli safbwynt Cyfansoddwyr Cymru/Composers of Wales.
Gall rhai llythyrau at y Golygydd gael eu golygu neu eu byrhau.

reference

members' websites

Dafydd Bullock www.bullockmusic.info
Max Charles Davies www.maxcharlesdavies.com
Kenneth Gange www.kenneth.gangecomposersalliance.com
Paula Gardiner www.paulagardiner.co.uk
Gareth Glyn http://gglyn.tripod.com
Stephen Goss www.surrey.ac.uk/Music/Who/Goss.html and
www.cadenza-music.com
John Hardy www.johnhardymusic.net
Ben Heneghan www.heneghanlawson.com
Brian Hughes www.brianhughes.uk.com
Meuryn Hughes www.aureus.co.uk
Malcolm Jones www.http://uk.music-jobs.com/cv/maljomusic
Andrew Lewis www.AndrewLewis.org
David Lloyd-Howells www.david-lloyd-howells.org.uk
Owain Llwyd www.owainllwyd.com
Ian lawson www.heneghanlawson.com
Enid Luff www. impulse-music.co.uk/primavera.htm
John Metcalf www.johnmetcalf.co.uk
Christopher Painter www.christopherpainter.co.uk/4556.html
Dan Phelps www.compositiontoday.com/danphelps
Leigh Phillips www.reel-music.co.uk
Lynne Plowman www.lynneplowman.co.uk
Peter Reynolds www.musicnow.co.uk/composers/reynolds.html
Michael Robinson www.michaelfrobinson.org.uk
Gillian Stevens www.composer.co.uk/composers/stevens.html
Hilary Tann http://hilarytann.com
Ceiri Torjussen www.ceiri.com
Jack White www.whitehillmusic.com/
Graham Williams www.musicpastandpresent.org.uk
John Williamson www.impulse-music.co.uk/williamson.htm
Rhian Samuel www.stainer.co.uk/samuel.html and
www.city.ac.uk/music/staff/rsamuel.html


cyfeiriadur

gwefannau aelodau

Dafydd Bullock www.cranemusic.com/bullock.html
www.newconsonantmusic.com/composers/bullock_dafydd
Max Charles Davies www.maxcharlesdavies.com
Kenneth Gange www.kenneth.gangecomposersalliance.com
Paula Gardiner www.paulagardiner.co.uk
Gareth Glyn http://gglyn.tripod.com
Stephen Goss www.surrey.ac.uk/Music/Who/Goss.html and
www.cadenza-music.com
John Hardy www.johnhardymusic.net
Ben Heneghan www.heneghanlawson.com
Brian Hughes www.brianhughes.uk.com
Malcolm Jones www.http://uk.music-jobs.com/cv/maljomusic
Meuryn Hughes www.aureus.co.uk
Andrew Lewis www.AndrewLewis.org
Owain Llwyd www.owainllwyd.com
David Lloyd-Howells www.david-lloyd-howells.org.uk
Ian lawson www.heneghanlawson.com
Enid Luff www. impulse-music.co.uk/primavera.htm
John Metcalf www.johnmetcalf.co.uk
Dan Phelps www.compositiontoday.com/danphelps
Leigh Phillips www.reel-music.co.uk
Lynne Plowman www.lynneplowman.co.uk
Peter Reynolds www.composer.co.uk/composers/reynolds.html
Michael Robinson www.michaelfrobinson.org.uk
Gillian Stevens www.composer.co.uk/composers/stevens.html
Hilary Tann http://hilarytann.com
Ceiri Torjussen www.ceiri.com
Jack White www.whitehillmusic.com/
Graham Williams www.musicpastandpresent.org.uk
John Williamson www.impulse-music.co.uk/williamson.htm
Rhian Samuel www.stainer.co.uk/samuel.html and
www.city.ac.uk/music/staff/rsamuel.html
businesses

The Music Publishers’ Association offer a leaflet on copyright for composers wishing to explain to users the rights of use in their music, from the Music Publishers Association Ltd, 3rd Floor, Strandgate, 18/20 York Buildings, London WC2N 8JU. Tel: 020 7839 7779, fax: 020 7839 7776.

Black Cat Music, suppliers of general concert/performance
equipment, staging, acoustics etc. More info at www.blackcatmusic.co.uk

busnesau

Mae'r Music Publishers’ Association yn cynnig taflen ar hawlfraint i gyfansoddwyr sy;n aawyddus i egluro i'w cwsmeriaid hawliau ynglyn â defnyddio'u cerddoriaeth. Ar gael gan The Music Publishers Association Ltd, 3rd Floor, Strandgate, 18/20 York Buildings, London WC2N 8JU. Tel: 020 7839 7779, fax: 020 7839 7776.
Black Cat Music: gwerthwyr offer perfformio, llwyfannu, acwstig ayyb. www.blackcatmusic.co.uk
The Arts Council of Wales

The Arts Council of Wales’s current funding details are available from its website www.artswales.org.uk
Contact any ACW office for information.

Cardiff office: Bute Place, Cardiff CF10 5AL Tel: 0845 8734 900

Colwyn Bay office: 36 Prince’s Drive Colwyn Bay LL29 8LA Tel: 01492
533440 Fax: 01492 533677 Minicom: 01492 532288

Carmarthen office: 6 Gardd Llydaw Jackson Lane Carmarthen SA3I 1QD Tel:
01267 234248 Fax: 01267 233084

e-mail: information@artswales.org.uk
web: www.ccc-acw.org.uk

Cyngor Celfyddydau Cymru

Mae cynlluniau ariannu newydd CCC ar gael nawr, a cheir gwybodaeth gyffredinol ar eu gwefan. Os am ganllawiau a ffurflenni, cysylltwch ag unrhyw swyddfa (gweler isod).

Swyddfa Caerdydd: Plas Bute, Caerdydd CF10 5AL Tel:0845 8734 900

Swyddfa Bae Colwyn: 36 Prince’s Drive Bae Colwyn LL29 8LA Tel: 01492 533440 Facs: 01492 533677 Minicom: 01492 532288

Swyddfa Caerfyrddin: 6 Gardd Llydaw Jackson Lane Caerfyrddin SA3I 1QD Tel:01267 234248 Facs: 01267 233084

e-bost: information@ccc-acw.org.uk
gwefan: www.ccc-acw.org.uk




web-sites of interest

www.welshmusicfoundation.com
www.welshmusic.org.uk
www.crwth.org.uk
www.arts4cardiff.co.uk
www.impulse-music.co.uk
www.composers-uk.com
www.composers21.com (Living Composers Project on the Internet) database of information on contemporary composers. E-mail Dan Albertson at dalbertson © nupediacom
www.britishacademy.com
www.musicweb.uk.net
www.prsf.com
www.iscm.nl
www.spnm.org.uk
www.bmr.org (British Music Rights)
www.visitingarts.org.uk
www.welshmusicfoundation.com (includes honk magazine)
www.tycerdd.org
www.welshmusic.org.uk
gwefannau o ddiddordeb

www.welshmusicfoundation.com
www.welshmusic.org.uk
www.crwth.org.uk
www.arts4cardiff.co.uk
www.impulse-music.co.uk
www.composers-uk.com
www.composers21.com (Living Composers Project on the Internet) database of
information on contemporary composers. E-mail Dan Albertson at dalbertson ©nupediacom
www.britishacademy.com
www.musicweb.uk.net
www.prsf.com
www.iscm.nl
www.spnm.org.uk
www.bmr.org (British Music Rights)
www.visitingarts.org.uk
www.welshmusicfoundation.com (includes honk magazine)
www.tycerdd.org
www.welshmusic.org.uk

useful addresses

Arts Council of Wales (see above)

Ty Cerdd - Music Centre Wales, incorporating:
Ffederasiwn Cerddoriaeth Amatur Cymru/Welsh Amateur Music Federation
Canolfan Hysbysrwydd Cerddoriaeth Cymru/Welsh Music Information Centre
Celfyddydau Cenedlaethol Ieuenctid Cymru/National Youth Arts Wales

Ty Cerdd-Music Centre Wales,
Wales Millennium Centre,
Bute Place,
Cardiff CF10 5AL
T: 029 2063 5640
F: 029 2063 5641
E: enquiries@tycerdd.org
(alternatively, individual officers can be contacted by
“firstname@tycerdd.org”., eg: keith@tycerdd.org,
ruth@tycerdd.org. etc)

Ty Cerdd, Wales Millennium Centre, Bute Place, Cardiff Bay, CF10 5AL Tel 029 2063 5640
Keith Griffin, director                                                                               keith.griffin@tycerdd.info
 
Departments of Ty Cerdd:
WAMF
Chris Sharpe (general enquiries, applications, etc)                                    chris.sharpe@tycerdd.info
Alexandra James (library, NYAW, brass band foyer performances)            alex.james@tycerdd.info
 
NYAW (WAMF)
Matthew Thistlewood                                                                              matthew.thistlewood@tycerdd.info
 
WMIC
Ruth Leggett (manager)                                                                          ruth.leggett@tycerdd.info
Charlotte Griffin (research, education, WMIC library)                                  charlotte.griffin@tycerdd.info
 
RECORDING STUDIO
James Clarke (recording technician)                                                        james.clarke@tycerdd.info
 
WORKSHOPS & PERFORMANCES
Rhiannon McLean                                                                                  rhiannon.mclean@tycerdd.info

Welsh Music Information Centre, Ty Cerdd, Canolfan Mileniwm Cymru, Bute Place, Bae Caerdydd, CF10 5AL Tel 029 2063 5642

British Academy of Composers and Songwriters, British Music House, 26 Berners Street, London W1T 3LR tel: 020 7636 292 fax: 020 7636 2212 web: www.britishacademy.com

The Performing Right Society, 29-33 Berners Street, London SW1P 4AA
BAFTA Cymru, Chapter Arts Centre, Market Street, Canton, Cardiff CF5 1QE tel: 029 2022 3898, e-mail post@bafta-cymru.org. uk

Welsh Music Guild/Cymdeithas Cerddoriaeth Cymru 33, Southminster Road, Penylan, Cardiff CF 029 2049 1585 e-mail: guildinfo@ntlworld.com

Incorporated Society of Musicians, 10, Stratford Place, London W1E 3YZ
Sibelius Support Services (The Data Store) new number 0208 460 6537

Women in Jazz, Queen’s Buildings, Cambrian Place, Swansea SA1 1TW
enquiries@womeninjazzswansea.org.uk, www.womeninjazzswansea.org.uk
tel: 01792 456666

recording companies
Cwmni Recordio Fflach, Llys y Coed, Heol Dinbych y Pysgod, Cardigan,
Ceredigion, SA43 3AH, Tel: (01239) 614691, Fax: (01239) 614680

Cwmni Recordio Sain, Llandwrog, Caernarfon, Gwynedd, LL54 2YQ, Tel: (01286) 831111, www.sain.wales.com

Red Kite Records (Martin Levan), Cwmargenau, Llanwrda, Carmarthenshire SA19 8AP Tel: 01550 722001, www.redkiterecords.com
cyfeiriadau defnyddiol

Cyngor Celfyddydau Cymru (gweler uchod)

Ty Cerdd - Music Centre Wales, yn cynnwys:
Ffederasiwn Cerddoriaeth Amatur Cymru/Welsh Amateur Music Federation
Canolfan Hysbysrwydd Cerddoriaeth Cymru/Welsh Music Information Centre
Celfyddydau Cenedlaethol Ieuenctid Cymru/National Youth Arts Wales

Ty Cerdd - Music Centre Wales,
Canolfan Mileniwm Cymru,
Plas Bute,
Caerdydd CF10 5AL
T: 029 2063 5640
Ff: 029 2063 5641
E: enquiries@tycerdd.org
Keith Griffin, cyfarwyddwr        Keith.griffin@tycerdd.info
 
Adrannau Ty Cerdd:
WAMF
Chris Sharpe (ymholiadau, ceisiadau, ayyb)   chris.sharpe@tycerdd.info
Alexandra James (y llyfrgell, NYAW, perfformiadau cynedd y seindorf prês            alex.james@tycerdd.info

NYAW (WAMF)
Matthew Thistlewood matthew.thistlewood@tycerdd.info

WMIC
Ruth Leggett (manager) ruth.leggett@tycerdd.info
Charlotte Griffin (research, education, WMIC library) charlotte.griffin@tycerdd.info

RECORDING STUDIO
James Clarke (recording technician) james.clarke@tycerdd.info

WORKSHOPS & PERFORMANCES
Rhiannon McLean rhiannon.mclean@tycerdd.info

Canolfan Hysbysrwydd Cerddoriaeth Cymru, Ty Cerdd, Canolfan Mileniwm Cymru, Bute Place, Bae Caerdydd, CF10 5AL Tel 029 2063 5642

British Academy of Composers and Songwriters, British Music House, 26 Berners Street, London W1T 3LR tel: 020 7636 292 fax: 020 7636 2212 web: www.britishacademy.com

The Performing Right Society, 29-33 Berners Street, London SW1P 4AA
BAFTA Cymru, Chapter Arts Centre, Market Street, Canton, Cardiff CF5 1QE tel: 029 2022 3898, e-mail post@bafta-cymru.org. uk

Welsh Music Information Centre, Ty Cerdd, Canolfan Mileniwm Cymru, Bute Place, Bae Caerdydd, CF10 5AL Tel 029 2063 5642

British Academy of Composers and Songwriters, British Music House, 26 Berners Street, London W1T 3LR tel: 020 7636 292 fax: 020 7636 2212 web: www.britishacademy.com

The Performing Right Society, 29-33 Berners Street, London SW1P 4AA
BAFTA Cymru, Chapter Arts Centre, Market Street, Canton, Cardiff CF5 1QE tel: 029 2022 3898, e-mail post@bafta-cymru.org. uk

Welsh Music Guild/Cymdeithas Cerddoriaeth Cymru 33, Southminster Road, Penylan, Cardiff CF 029 2049 1585 e-mail: guildinfo@ntlworld.com

Incorporated Society of Musicians, 10, Stratford Place, London W1E 3YZ
Sibelius Support Services (The Data Store) new number 0208 460 6537

Women in Jazz, Queen’s Buildings, Cambrian Place, Swansea SA1 1TW
enquiries@womeninjazzswansea.org.uk, www.womeninjazzswansea.org.uk
tel: 01792 456666

recording companies
Cwmni Recordio Fflach, Llys y Coed, Heol Dinbych y Pysgod, Cardigan,
Ceredigion, SA43 3AH, Tel: (01239) 614691, Fax: (01239) 614680

Cwmni Recordio Sain, Llandwrog, Caernarfon, Gwynedd, LL54 2YQ, Tel: (01286) 831111, www.sain.wales.com

Red Kite Records (Martin Levan), Cwmargenau, Llanwrda, Carmarthenshire SA19 8AP Tel: 01550 722001, www.redkiterecords.com







the committee of composers of wales

Chair: Andrew Wilson-Dickson, composer, andrew.wd@ntlworld.com
Secretary: Audrey Morgan, audrey.morgan59@yahoo.co.uk
Administrator: Jon Petrie, jon@petriepublications.com
Treasurer: Ian Lawson, composer, ian@heneghanlawson.com
Eilir Owen-Griffiths, composer
Guto Puw, composer
Enid Luff, composer
Peter Reynolds, composer
gweithgor cyfnasoddwyr cymru

Chair: Andrew Wilson-Dickson, composer, andrew.wd@ntlworld.com
Secretary: Audrey Morgan, audrey.morgan59@yahoo.co.uk
Administrator: Jon Petrie, jon@petriepublications.com
Treasurer: Ian Lawson, composer, ian@heneghanlawson.com
Eilir Owen-Griffiths, composer
Guto Puw, composer
Enid Luff, composer
Peter Reynolds, composer